Skulpture Franc Solina 2021

a pebble stone that lives in water, smoothed in some parts, completely untreated in others. e sculptures Bather and Amoeba are similar and complementary, we recognise both aspects in each of them. Even more abstract are the sculptures that portray intimate human relations and emotions, expressed through the density and interweaving of forms ( Lovers , Family , Worries ). e cloud motif appears in three studies: the rst Cloud is a so shape like clouds sitting on city skyscrapers, the second one is a dynamic form, di erent on all sides, a cloud driven by the wind, light and fast. e third one is threaten- ing, heavy, with hail and storm. Duck and White Dove (made of onyx, which is translu- cent and delicate like feathers), as well as Pumpkin , are gurative sculptures. Female bodies come in larger formats, Torso I (partly realistic and in parts un nished like Michelangelo’s works, and of colourfully smoothed surfaces like Emily Young’s) and Torso II (silhouetted and at, reminiscent of the forms of omas Moore and Hans Arp). e wooden Totem I is rudimentary, carved with a chainsaw and powerful in its strokes. e white Totem III made out of stone is re ned in the so course of the surface between the convex and the concave with holes naturally positioned in it. Installed into the environment, it re ects the hop plantations. e opening is even further pronounced in the sculptures Window and Great Eye , where the gaze travels into the interior of the form, enters the stone and exits into the surroundings behind it. e artist creates in the course of history, he seeks and produces his own statements in a relationship with older artistic statements, attentive and sensitive to those of contempo- rary authors, who are co-creating the expression of their time. e in uences of his favourite sculptors can also be recognised in the sculptures of Franc Solina, like Barbara Hepworth and Isamu Noguchi, as well as certain a nities with the quests of our contem- poraries, e.g. Sibylle Pasche and the various participants in the on form biennial festival of stone sculpture in England (Asthall Manor, Oxfordshire), which Solina follows along with many other manifestations and re ections on sculpture and the wider eld of art. We see the forms of objects with our eyes and can get even closer to them through touch. We are not isolated in this aspect, the forms of objects are also perceived by machines, and we are able to see the world in today’s technical perspective through the eyes of machines. Sculptors and architects no longer rely only on their bodily senses, but also leave the construction of the form to formalised processes, algorithms – which, like us, have read the many existing forms and have learned to make other similar ones, be it the form of running water or the structure of a cobweb. Franc Solina and I have known each other as new media artists since 2000, rst as professor and student on the Master’s degree in Video and NewMedia at the Academy of Fine Arts and Design in Ljubljana, and soon a er, as members of the ArtNetLab Society for Connecting Art and Science. 1 We continue to meet as exhibiting artists at many festivals of new media art and group exhibitions, and have also prepared the solo exhibi- tion Data Sculptures [31] together. Solina entered the world of art in 1995 when he collaborated with Srečo Dragan and the Association of Slovenian Fine Artists Societies on the projects of the rst Slovenian virtual online gallery [2] and numerous pioneering projects [1] , which generally included computer vision in art [7] , the central area of Solina’s scienti c research work. In 2002, he presented his rst new media interactive installation, 15 Seconds of Fame [15, 16, 17, 18, 19, 27] together with colleagues from his laboratory, which was also presented in 2003 at his rst solo exhibition in the Gallery of the Monument Protection Centre in Ljubljana [20, 24] . Since then, he has been regularly making and exhibiting new media artworks [21, 22, 23, 26, 28, 29, 31, 33, 34, 35, 36] , about which he also publishes scienti c papers [4, 5, 6, 7, 8, 12, 14] , since his research pertains to the eld of connecting art and science [3] . His research is concerned with image and

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